Kay D. Smith & Alex K. Katz ‎– Level 5 EP

Label:
Re-load Records ‎– REL 002104
Format:
Vinyl, 12", 33 ⅓ RPM, EP
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

A1 Dust (Schall & Rauch Rmx)
Remix – Schall & Rauch
6:01
A2 Level 5 5:51
B1 Koma 5:59
B2 Director's Cut 5:59

Companies, etc.

Credits

Barcode and Other Identifiers

  • Barcode (Text): 5 412545 021047
  • Barcode (Scanned): 5412545021047
  • Matrix / Runout (Runout Side A): REL 002104 A1
  • Matrix / Runout (Runout Side B): none
  • Rights Society: SABAM/BIEM

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maroko

maroko

June 17, 2010

Another pounding four tracker courtesy of techno music's fiercest dungeon keepers, Kay D. Smith and Alex K. Katz. As one would come to expect, these are four butane driven power actuated nailguns with little explosive charges placed between the vinyl grooves. However, if construction terminology doesn't satisfy you, in plain english you could say these numbers will disintegrate the cockroaches wriggling through the air condition pipelines inside the club. Once all human life forms have been forced to meet their maker, Katz & Smith provide a funeral soundtrack to those remnant species reluctant to the idea of dying. You know those little flies feasting on your remains? Drinking the cornea from your eye? Well, those die as well.
The A side is particularly heavy. Dust is a banging monster with a spooky voice going "angel" every once in a while, highly pitched hi-hat action and profoundly piercing acid synths.
Level 5 is like elevator music you'd have the honor of listening to while descending five levels under the earth's surface - hell's own fifth level. Crispy, dark, with loads of distorted frequenices, ill-shapen acid snippets and a messanger of Lucifer in the flesh going "now it's too late!". Techno for perverted masochists. Er, or no?
Koma follows on the heels of the previous track, although a tad more acceptable to the common human. Well, take that with two dozen pinches of caution, as this german voice says something about a coma, while a no-nonsense sequence goes mad over the percussion as though somebody was groping about a chalkboard with their finger nails.
The last track is slightly less invasive than the previous ones, and I can only say it comes as a relief. A basic four by four precussion pattern gets eventually broken down by additional drum kicks, and quickly it becomes a pretty sick composition, where you don't know where the main kicks come from and where they end. Pretty cool, although not as effective as the A side.
Overall, those who love it hard to be played at dark should love this. Fans of this duo, and all their aliases and solo outputs, as well as persuers of projects like Audioklink and Andreas Kramer should keep an eye on this one!